REVISIONS (2019 ongoing)
Using fluidity as a form of iconoclasm these works are an enquiry into an image of the unfixed. The ‘Revisions’ make reference to material histories of the painted image – fresco techniques, ancient earth pigments, archetypes, icons, modernist portraiture, linear perspective, geometry and Bauhaus colour theory. These art historical markers become points of departure as the image is pushed towards a state of flux.
Synchronicity Points | Bauhaus Geometry | This Mortal Painting | Fresco Memoria
NETWORKED PAINTING (2017 ongoing)
These works explore the reception and circulation of painting through personal dialogue and professional exchange. I’m interested in what the presence of a painting is; and, how it could exist in a dialogue around it. What does it mean to live with a painting? How does the influence of duration and setting frame a daily encounter? In these works, paintings circulate through multiple modes – gift, encounter, dialogue, writing and sound. Painting becomes a catalyst, a space to dwell, a speculative object, a synthesis of interpretation and response.
Sounding Painting | Writing Painting | Archetype Paintings | Sylvan Solitude
OBSERVATIONS (2010 – 2018)
As contemporary culture accelerates, peripheral vision is narrowing and attention spans are diminishing. As a quiet resistance to a rapid image culture, ‘Observations’ was a body of work made over a eight-year period that investigated a slow process of attunement. Paintings and prints documented transient events – studies included dusk light, ground shadows, sunlight movements and atmospheric distance. Exploring sensitive magnitudes of human perception, these works recorded an intimate relation to distant things.
Looking for the Sky in the Earth | Sky Accumulation | Light Events | Here Beyond | Ground | Day Fades Night Falls | Sky Maps | Colour Observation Argentière Glacier March 2010
I am interested in drawing as a generative and speculative act. I want to interrogate where a drawing is going. Ideas of continuum, rotation, progression and motion give drawing a future oriented trajectory. By following some internal impetus of growth or movement, can a drawing be autonomous, be infinite?
Instruments for Drawing | Structural Arrangements 1-81
MODELS AND STRUCTURES
Models and Structures